top of page

UPCOMING EVENTS

CHARLIE AND THE CHOCOLATE FACTORY

​

17 Jan 2025

More...
Les Miserables

​

4 Mar 2025

More...
Calendar Girls the Musical

​

20 Mar 2025

More...
Calendar Girls The Musical

​

1 Apr 2025

More...
The Sound Of Music

​

24 Jun 2025

More...

LATEST NEWS

Calamity Jane as presented by St. Agnes Choral Society

St. Agnes’ Choral Society  Calamity Jane  Saturday 16th November 2024  The Grand Opera House in Belfast is a wonderful venue. It is...

St. Agnes’ Choral Society  Calamity Jane  Saturday 16th November 2024  The Grand Opera House in Belfast is a wonderful venue. It is difficult not to feel the very palpable ambience, history, and character which its walls exude. And so, how lovely it was to experience an ‘old school’ musical in this historic theatre, which is over a century old. If indeed first impressions count, then St. Agnes’ Choral Society’s production of ‘Calamity Jane’ hit the ground running before a word of dialogue was spoken. There was something quite joyous and uplifting about hearing a huge choral sound right through the exquisitely played overture. Only it wasn’t the cast making that sound. It was the audience. Hundreds of voices singing ‘The Black Hills of Dakota’ set a glorious tone for what would be a most entertaining and memorable production of a true classic.  As one might expect, the front of house arrangements were excellent in the large and busy foyer of the Grand Opera House. Staff were friendly, courteous, and most efficient. I was greeted by the society representative, who shared many interesting insights into the theatre and the vibrant musical theatre scene in Belfast. As we filtered into the theatre, pre-show, the curtain was open and the Golden Garter was already open for business, with a guitar-playing old-timer banging out a tune in what was a nice, original touch by director, Laura Kerr.  Ms. Kerr gave us a superbly crafted version of this classic tale. The story may be over seventy years old but it is still relevant and entertaining. There is comedy galore, love stories aplenty and lots to be explored about challenging traditional gender roles and stereotypes. Ms. Kerr got it all and had great fun with every element. Comedy was strong, as were the more tender moments. Characterisation and attention to the narrative detail were impressive. There was great use made of the enormous playing space and Ms. Kerr ensured that the pace rattled along like a freewheeling stagecoach.  Andrew Robinson’s musical direction was top notch. From the opening bars of the sumptuous overture, we knew that this was going to be a musical feast of a show. And what a feast it was. The orchestra, superbly mixed by the sound department, was simply stunning. We may as well have been listening to the movie soundtrack, such was the incredibly rich sound, superb musicianship, and excellent balance of this wonderful fifteen-piece orchestra. Mr. Robinson conducted with considerable flair and was clearly offering great support to the company on stage. The gentlemen in ‘Adelaide’ sang beautifully and, throughout the show, we heard exquisite, well-balanced harmonies.  Choreographer, Amy Blackshaw, was very clever in how she used her very large cast. Full ensemble numbers weren’t overly intricate but the excellent precision, confident execution and high-performance levels across the cast meant that numbers like ‘The Deadwood Stage’ and ‘Windy City’ were extremely impressive. The smaller dance groups also excelled in numbers such as ‘It’s Harry I’m Planning to Marry’ and sections of ‘Windy City.’  Of course, the entire show practically hinges on one performance. How blessed we were to have Lorraine Jackson in the titular role. Ms. Jackson was captivating as the sharpshootin,’ straight talkin’ frontierswoman, Calamity Jane. She was brash and rough around the edges, entirely believable as the tomboyish spinner of dubious yarns. And yet, there was an endearing vulnerability about her performance that drew the audience in, ensuring that her characterisation avoided caricature, in what was a very balanced and nuanced portrayal. Ms. Jackson traversed the line between hilarity and sincerity so seamlessly. And then she sang ‘Secret Love.’ I can only describe her performance of this song as a tour de force, standout moment. It was quite remarkable on every front. From the heartfelt sentiment to the soaring, powerful vocal which never once faltered, this was a fabulous rendition.  I really enjoyed Kyle Emerson’s performance of legendary figure, Wild Bill Hickock. Again, Mr. Emerson avoided caricature, balancing strength, and masculinity with a sprinkle of heart and sincerity. The relationship between Bill and Calamity was well developed and Mr. Emerson worked very well with Ms. Jackson. His lovely, rich baritone was easy on the ear, particularly in ‘Adelaide’ and the gorgeous ‘Higher than a Hawk.’ It was a really authentic, down to earth portrayal.  Gareth McGreevy cut quite the dashing presence as Lieutenant Danny Gilmartin, the focus of Calamity’s affections. Mr. McGreevy had excellent stage presence and clear delivery of dialogue. There was a lovely rapport between himself and Ms. Jackson and the subplot between himself and Katie Brown was tenderly played. He also sang very well. ‘Love You Dearly’ was one of many musical highlights in the show.  Aideen Fox was an excellent Katie Brown. Ms. Fox is a very talented actor but also a skilled comedienne with super timing. Her impostor syndrome, as she nervously tried to dupe the gentlemen of Deadwood into believing that she was, in fact, Adelaide Adams, was played so well. ‘Keep it Under your Hat’ was excellently sung and performed with a deft comic touch. Once again, Ms. Fox played Katie with an underlying sincerity that really worked, allowing us to forgive her initial deception of Calamity.  There was no doubting that Kevin McReynolds, as saloon proprietor Henry Miller, is a very talented man with all of the tools necessary to play the role. He had good stage presence; his accent was strong and he had a most expressive face. However, I did feel that Mr. McReynolds needed more guidance in trusting the book and giving more consideration to the lines. I felt that he played things in a very over the top manner and that he needed to be reined in. again, I have to stress that the talent was clearly there. I just felt that it needed some coaxing to get the balance right.  Helen Smyth was lovely as Harry’s niece, Susan. She was a great dancer, had excellent stage presence and great expression in her delivery of dialogue. This was a really well-rounded performance in what can sometimes be a throwaway role.  Sam Nolan was a very likable and funny Francis Fryer. He was another very strong performer who wrung every last drop out of his character. A fine character actor, Mr. Nolan’s ‘Everyone Complains About the Weather’ was a super number, delivered with great flair, a fine voice, and a keen understanding of its comic potential.  Fiona Keegan was a very strong Adelaide Adams. Her delightfully full vocal was excellent in ‘It’s Harry I’m Planning to Marry.’ There was a tendency sometimes to play dialogue directly to the audience rather than to the character she was addressing on stage. That said, her dialogue was very clear and well delivered.  Sean Allen impressed as Rattlesnake and he sure scrubbed up well for the wedding. Stephen McQuillan did very well as Doc Pierce. There was strong support too from Paul Maguire as Joe, Jarlath Burns as Hank, Andrew Johnston as Pete, Pat Smyth as Col of Fort Scully, and Callan Hamill as Prospector.  This was a very large and committed Ensemble who were very well-rehearsed and looked like they were enjoying themselves no end. They had a fabulous, collective energy and were always engaged and focused. Their choral sound was magnificent and they were dramatically responsive, when required. Their dance routines, cleverly devised and so well rehearsed, were so precise and very well performed.  Stage manager Andy McKnight and his excellent crew did a wonderful job. Fly cues were meticulously timed, trucks were smoothly positioned and struck, and changes flowed seamlessly, contributing greatly to what was a very pacy and fast-moving show.  The very large, hired set, worked perfectly on the Grand Opera House stage. The imposing Golden Garter truck was set very far upstage left. The trucked ‘stage,’ which moved on and off very smoothly, was a great addition. Adelaide’s dressing room was very impressive with its working doors and the cleverly hinged cabin ‘transformation’ worked very nicely too. The fabulous backdrops added greatly to what was a visual feast of a show.  Props were meticulously chosen, with superb attention to detail noted in all areas. Francis Fryer’s suitcase, Henry’s pocket watch, the carpet beater, wooden trunk, wooden bucket were just a few of the fine array of well-chosen props which were authentic to the era. But it was the full-size stagecoach, with Calamity on top, that really stole the show as it was wheeled on. Lighting was excellent, perfectly complementing the tone and mood of every scene. There was beautiful use of two follow spots. These were sometimes in a soft focus, barely noticeable. At other times, such as when Katie was performing her ‘show’ song, it had a sharper edge. There were some gorgeous changes within musical numbers, beautifully capturing shifts in mood. Gobos and haze were used to great effect to help create some very atmospheric states.  Similarly, sound was top notch. The orchestra was mixed to perfection and there was an incredibly well-balanced choral sound, all the more surprising because of the sheer numbers on stage. I didn’t observe any missed cues on the night; however, I did feel that a little bit more support for underscored dialogue would have been helpful.  Costumes were brilliantly authentic and everyone was turned out so well. How great it was to see so many authentic cowboy hats and boots. The showgirls’ red, white, and blue were very striking. So too were the ‘bride’ dancers’ ensembles, with their veils, their long white gloves, and dresses. Calamity’s iconic look was very authentic, as was Danny’s uniform. A super, detailed plot, which must have taken a huge amount of coordination. Well done to all.  Hair and makeup appeared appropriate to the era. Wigs were well-chosen and well-styled. There was great fun had with Francis Fryer’s hair and make-up for his ‘Hive Full of Honey.’  This was a wonderful production of a timeless classic, in one of the finest venues that the country has to offer. A strong production team, technical crew, and some wonderful casting decisions, made this a show that will live long in the memory. Thank you and well done on a superb performance.  Pat McElwain  Gilbert Adjudicator 2024/2025 Some photos shared by the society; Photos by Nicola McKee

Guys and Dolls as presented by Newcastle Glees MS

Newcastle Glees Musical Society  Guys and Dolls  Saturday 9th November 2024  ‘Guys and Dolls’ is one of those shows that never seems to...

Newcastle Glees Musical Society  Guys and Dolls  Saturday 9th November 2024  ‘Guys and Dolls’ is one of those shows that never seems to age. A superbly funny, snappy script and an exquisite score by Frank Loesser, combine to ensure that it is always an audience favourite. Newcastle Glees produced a very energetic and entertaining version of the classic musical. The performers often breached the proscenium, bringing the colourful inhabitants of Runyonland right into the audience, much to their delight.  I’m guessing that few societies in the country can claim to be putting on productions in a venue built over a hundred years ago. Newcastle Glees can boast exactly that, as they own and manage the wonderful Annesley Hall, built in 1891. The lovely hospitality front of house was duly reflected in the uniquely warm and welcoming atmosphere that seemed to emanate from this beautiful venue.  Laura Kerr did a fine job as director, with a close eye on the comic possibilities of the book. There was such a frenetic energy in the opening sequence, as a multitude of interesting characters vied for our focus and the show burst into life. Dialogue was generally pacy; exactly as it should be in what can be quite a long show. Pace dipped occasionally with some delayed entrances, however. For the most part, action in the auditorium worked really well, giving us an up close and personal theatrical experience. I even got some very authentic literature from the ladies of the Salvation Army! On occasion, action played in front of the audience was obscured. There was really great work in the tricky sewer scene, which had lots of pace, comedy and focus from all of the gentlemen.  Mark Tilley took up the reins as musical director, bringing the show’s delightful score to life with his wonderful, ten-piece orchestra. The orchestra sound was remarkably rich and full, excellently mixed by the sound department. The contrapuntal ‘Fugue for Tinhorns’ was so well sung, with the perfect dynamics allowing the melody to feature strongest, depending on who was singing it at the time. Chorally, this was an excellent show. From the Hot Box girls’ fun numbers to the iconic and excellently performed ‘Luck Be a Lady’ the ensemble singing was top notch. But it was the brilliant ‘Sit Down You’re Rockin’ the Boat’ that really showcased the excellent group vocals.  Choreography was in the very experienced hands of Clare Donnelly, whose vision and creativity were all over the show. She devised some wonderfully dynamic routines, culminating in the excellently rehearsed and slick Crapshooters’ Ballet which had the audience crying out for more. This really was the standout number of the show. Not to be outdone though, the Hotbox girls really impressed in Take Back Your Mink, which was a really polished, fun number with great performance levels from all. I loved the very cleverly staged ‘Sit Down You’re Rockin’ the Boat’ which swept us all along on the crest of a wave as everyone got drawn into Nicely’s ‘dream’ with unconstrained abandon.  Allen Gordon was a very charming and charismatic Sky Masterson. Mr. Gordon had excellent stage presence. He was in tune with the text at all times in what was a very thoughtful and intelligent interpretation of his role as the confident, high-stakes gambler. His knowing  manipulation of Sarah as he lured her in, his mind set on Havana, was very cleverly played. He sang beautifully too. ‘My Time of Day’ was absolutely gorgeous, showcasing Mr. Gordon’s rich, melodic tones so well.  Francis McKinney played the central role of good old reliable Nathan Detroit. Mr. McKinney gave us an extremely energetic portrayal of the eternal bachelor who has been running an illegal crap game ever since he was a juvenile delinquent. He was clearly putting his heart and soul into the iconic role and there was no doubting Mr. McKinney’s talent. At times, he needed some guidance regarding overuse of hand gestures which were very busy indeed. Mr. McKinney’s facial expressions, accent and comic timing were all very strong and he got a great audience reaction. He sang very well too, especially in the very funny ‘Sue Me.’ A solid portrayal of the role.  Emma-Jane McKnight was an excellent choice to play ‘mission doll,’ Sarah Brown. Ms. McKnight was a very strong actress who moved seamlessly from prim and proper Salvation Army girl in the earlier scenes, to a deliciously funny, drunken mess in Havana. She balanced the comic with the strait-laced so well, giving us a very gentle, yet passionate, interpretation of the role. What a voice Ms. McKnight had too. Her rich, soaring soprano was an absolute joy. She showed excellent control and was most impressive in ‘I’ll Know’ where her wonderful top register was most impressive.  That well-known fiancée, Adelaide, was played by Orla Russell, who lit up the stage in every scene. Ms. Russell was heartbreakingly hilarious. She found depth and nuance at every turn, balancing heartache with delicious ditziness, making her a most lovable character. ‘Marry the Man Today,’ with Ms. McKnight, was one of the highlights of the show for me and Ms. Russell’s vocals in all of her numbers was most impressive. An excellent comic performance.  Josh Clarke was a very likeable Nicely Nicely Johnson, with excellent comic timing. His dialogue was snappy, his diction was clear, and his reactions were suitably animated in a really fun portrayal. Mr. Clarke is clearly a gangster in real life too, as he almost stole the show with his fantastic performance of ‘Sit Down You’re Rockin’ the Boat.’ Super work!  Melissa Maguire played the hard-nosed General Cartwright, doing so with an imposing presence that was perfect for her domineering character. I felt that delivery of dialogue needed to be bigger and more boisterous, in order to match this very strong presence. I loved her little comic turn as she refused Nicely’s whiskey in ‘Sit Down You’re Rockin’ the Boat,’ a fleeting but very funny moment.  Harry the Horse was played with great comic flair by Finbar Finnegan. Mr. Finnegan was a real shady character with superb comic timing. His mix-up between his getaway car and his Buick was beautifully timed.  Diarmuid Taggart brought warmth, sincerity, and humour to the role of Arvide Abernathy. A very clever actor, he brought layers of nuance to a role that can often be thrown away. He had wonderful comic timing too, He displayed a lovely baritone in the superbly performed ‘More I Cannot Wish You,’ in which he connected with the lyrics in a most touching and sincere way. The connection with Sarah was beautiful.  Martin McDowell gave a very memorable performance as a gravelly-voiced Big Jule, the ‘scoutmaster’ from East Cicero who takes Nathan to the cleaners during the much-anticipated crap game. Mr. McDowell had a most imposing presence, (which nobody can deny!), and he controlled the pace in the sewer scene perfectly. And it has to be said that it’s not too often that you get a Big Jule who can dance the Crapshooters’ Ballet as well as Mr. McDowell did! Bravo. The decision to have hard-nosed Lieutenant Brannigan played as a very ‘stage Oirish’ cop was, for me, misjudged. That said, Sean Trainor was clearly a talented performer, with great expression, presence, and wonderful diction. However, the ‘be the hokey’ take, which was played for laughs at every opportunity, just didn’t sit well with me and took away from Mr. Trainor’s overall performance.  Stephen Donnan-Dalzell was a most exquisite Hot Box MC, played with a flamboyant flair and a touch of decadence that was both daring and original. They owned the stage and made the very most of their scenes, rocking their very unique look in a very fresh take on what is often a throwaway cameo.  James Marsden, Gordon Donaldson, and Luca Keaveney were all strong as Benny Southstreet, Angie the Ox and Rusty Charlie, with Mr. Marsden shining in the excellent ‘Fugue for Tinhorns’ and with his very funny cheesecake shenanigans.  Katy Keaveney was a supportive Agatha and Clare Cunningham got good fun out of Mimi, somehow managing to find her earring on the Hot Box floor.  A committed ensemble impressed vocally, and their dancing was strong in the big production numbers where they put huge energy into every routine. I was very impressed by the gentlemen who put such great effort into their reactions to the Hot Box routines. They were really enjoying themselves! ‘Sit Down You’re Rockin’ the Boat’ was a tour de force with every cast member giving their all and enjoying every second.  Stage manager Clair Williams ran a really tight ship and ensured that her crew were organised and slick for all changes. In such an episodic show, it is important to keep things flowing and Ms. Williams was acutely aware of this. Movement of the trucked pieces was very well choreographed and there were no obvious glitches on the night that I attended.  Set design was simple but very functional. The upstage NYC skyline looked great, and the four multifunctional pillar trucks were cleverly effective in minimising the space restrictions. The newsstand looked very well. The sewer was most impressive and the upper level for Sky and Nicely’s entrance worked really well. I really liked the straw umbrella for Havana, although the inflatable palm tree was not of the era.  Props were a little hit and miss and I would go as far as to say that some items should not have been allowed onto the stage. The Salvation Army bass drum, with Union Jack and associated branding, looked out of place, as did the flag used in the opening procession through the audience which referenced Belfast. The kitchen shower props were plentiful and authentic. There was lots of money floating about the crap game but cast needed to ensure that they had enough to accurately reflect the lines.  A very strong lighting plot complemented the dramatic action of the production very well. Havana was very impressive as the heat and driving energy of the scene were reflected in the dynamic lighting. The sewer scene was excellently lit, giving us a dark, atmospheric feel without ever compromising on clarity. A standout lighting moment was that dramatic first cue into ‘Luck Be a Lady Tonight,’ creating a stunning picture as Sky contemplated his biggest gamble yet.  I thought that the sound design was pretty much flawless in its operation. The orchestra was mixed to perfection. Dialogue and singing were crystal clear and there was a lovely array of sound effects which added nicely to street scenes and the sewer in particular. Cast just needed to be conscious of pulling back their ad libbed, background dialogue when their mics were on, as they were occasionally competing with the scripted dialogue. A superb costume plot added great depth and authenticity to the production. Everything appeared era appropriate. I loved the gangster outfits, and the spats were a particularly nice touch. The Salvation Army uniforms were perfectly staid. The Hot Box outfits, complete with birds’ nests and detachable eggs were a hoot and Adelaide’s ensembles were suitably over the top. The long dresses for ‘Take Back Your Mink’ were very elegant and Adelaide’s wedding was…well, very Adelaide.  Hair and make-up were appropriate for the era. The news vendor’s blonde wig needed attention (*prays it was a wig!) and some of the Hot Box ‘Take Back Your Mink’ wigs needed fixing for a more polished overall look.  This was a highly entertaining and fun production of one of the most iconic stage musicals ever written. It had it all and the audience responded accordingly. It was a pleasure to attend this unique and historic venue for what was a really great night’s entertainment. I sang all the way home!  Pat McElwain  Gilbert Adjudicator 2024/2025

Oklahoma as presented by Tullyvin Musical Society

Society Name:  Tullyvin Musical Society Show Name:  Oklahoma! Adjudicator Date of Attendance:  19/10/2024 Brief Overview of Show and...

Society Name:  Tullyvin Musical Society Show Name:  Oklahoma! Adjudicator Date of Attendance:  19/10/2024 Brief Overview of Show and Evaluation of Front of House Nestled within a hillside, Tullyvin Community Centre provided an intimate, welcoming setting for Tullyvin Musical Society’s performance of Oklahoma!  The Front of House décor was thoughtfully crafted, enhancing the atmosphere with a light-up “OKLAHOMA” sign along the front railing and cozy autumnal decorations in the foyer. Director - Direction and Production The director’s approach to Oklahoma!  was clear in blocking, making good use of both stage space and set elements. There were several well-executed scenes, including a high-energy fight sequence during the box social scene and another intense moment between Curly and Jud in the final act. However, despite strong staging choices, the show felt lacking in depth. The actors performed their lines well, but there seemed to be minimal development of character relationships or backstories, which led to some missed emotional connections. This absence was particularly noticeable in the romantic tension between Curly and Laurey, and the darker rivalry between Curly and Jud. Though all characters fit their roles, a more layered exploration of their motivations and dynamics could have elevated the storytelling. Musical Director - Direction and Orchestra The music, under a skilled Musical Director, was the standout element of the production. Harmonies were strong and well-rehearsed, lending depth to each number. The orchestra, even in the small space, was beautifully balanced, allowing the melodies and counterpoints to shine without overpowering the singers. The MD’s enthusiastic conducting was evident but could have benefitted from a lower placement, as he occasionally obstructed the LED wall and was visually distracting. Choreographer - Choreography The choreography, while high-energy in numbers like “Kansas City”, was mixed overall. The male ensemble brought commendable enthusiasm and performed capably, but pieces like “Many a New Day” fell short, even with some skilled female dancers in the cast. The dream sequence, although passable, did not fully capture the intended tension between Laurey, Curly, and Jud, and missed opportunities to emphasize the underlying emotions of love and fear. Rather than elevating some of the stronger dancers in key moments, the choreography often seemed adapted to accommodate the less experienced cast members. More strategic choices could have helped balance the skills of the ensemble and highlighted stronger dancers effectively. Leading Principals - Singing and Acting Laurey – Scarlett McCormack Scarlett delivered a vocally strong performance, handling Laurey’s challenging vocal lines with apparent ease. A pleasure to listen to, filled with warmth and colour, her voice blended richly with Curly’. However, her portrayal was subdued, with limited facial expression, which created a somewhat flat characterization. Her performance might have benefitted from more direction to encompass Laurey’s spunky, independent personality. Laurey’s spirit as a sassy, independent young woman was missing, which impacted the believability of her romantic arc with Curly. Curly – Colm Shalvey Colm demonstrated exceptional vocal talent, particularly in “Oh, What a Beautiful Mornin’,” with his smooth tenor voice. However, his physical portrayal lacked the ease and swagger of a confident cowboy, and he occasionally appeared stiff in movement. Some dance training to increase physical expressiveness would likely enhance his portrayal and help him embody Curly’s self-assured charm more fully. Aunt Eller – Andrea Fitzpatrick Andrea delivered a warm, natural performance as Aunt Eller. She balanced a playful spirit with maternal wisdom, giving the role charm and presence. Her strong voice added to her convincing portrayal, marking her as one of the most comfortable and engaging on stage. Jud – Ian Rountree While Ian has the vocal chops for Jud, his character portrayal missed the mark. He was not menacing enough to convey Jud’s darker, unsettling qualities, nor vulnerable enough to evoke sympathy. This led to Jud feeling more like a conventional character with romantic leading man tendencies, than the layered, ominous figure that drives much of the story’s tension. Supporting Roles - Singing and Acting Ado Annie – Emily Smith Emily’s Ado Annie was playful but could have gone further with the comedic, flirtatious aspects of her character. Vocally, her soprano tone didn’t fully capture Ado Annie’s brassy style, yet her warm stage presence and lively expressions kept the role enjoyable. Will Parker – Conor Lynch Conor brought excellent energy and a solid voice to the role, delivering a charming performance as Will. While his enthusiasm was evident, he could have leaned into the physical comedy with Ado Annie, adding dimension to their interactions. Ali Hakim – Enda Gill Enda presented a well-voiced, charismatic portrayal of Ali Hakim. However, his accent felt off, and the humour could have been pushed further. As a physically dynamic character, a more flexible portrayal would have given Ali Hakim the eccentric flair he requires. Andrew Carnes – Brian Feerick Brian’s portrayal was warm, adding depth as Ado Annie’s protective father. He balanced sternness with humour, although more could have been done to exaggerate his relief at “losing” his daughter. Gertie Cummings Alanna captured Gertie’s trademark laugh with energy, commitment and gusto, though her performance sometimes leaned into a more polished style that might have been even more effective with a subtler comedic touch. The stray strands of hair occasionally drew focus away from her facial expressions, which slightly impacted the overall performance. Ike Skidmore – Jason Nulty Jason brought a lively energy to the stage, consistently engaged in the ensemble scenes. He was a good mover and stayed involved in the action throughout, contributing to the ensemble's cohesiveness. Cord Elam – Donal Cooney  Donal brought a stutter to Cord’s character, which fit well, adding a sense of endearment to his role as a cast member. He stayed true to his character, enriching the scene’s atmosphere with his nuanced performance. Slim – Ben Lynch Ben’s enthusiasm as Slim was evident, though his dialogue often got lost, being inaudible at times. With more voice projection and clarity, his excitable character would have made a stronger impact. Dream Laurey – Aiveen Sexton Aiveen showed grace and poise in the ballet sequence. Her movements were clean, bringing presence to the role. She showed an ability to communicate the ballet’s emotions, though the choreography didn’t fully support her potential. Dream Curly – Eugene Hill Eugene displayed good physicality, though his role was underutilised. More challenging choreography could have highlighted his abilities further. Chorus/Ensemble - Singing, Acting, and Choreography The ensemble harmonised well and brought vibrant energy to the show. They worked cohesively as a unit, showing clear engagement and enjoyment on stage. While dance levels varied, they compensated with dedication and enthusiasm. Their singing was a highlight, bringing warmth and depth to group numbers. Overall, the ensemble demonstrated a sense of camaraderie that translated into a lively performance, though further dance training could enhance their synchronisation and fluidity in future productions. Stage Management & Set Design The set design was impressive and creatively adapted for the small stage. Well-painted and cleverly crafted, the set transitions were smooth and well-timed. The LED wall added a modern touch, though a more cohesive visual style between the LED graphics and painted flats would have enhanced the setting. The set truck operated seamlessly, contributing to a clean, polished stage flow that supported the story without distracting from it. Some tech equipment was visible downstage, detracting slightly from the immersive experience, yet overall, the stage team handled changes with efficiency and care. Technical - Light and Sound The sound was well-executed, with clear balance and no missed cues, showcasing the singers’ harmonies effectively. The lighting, while functional, was somewhat basic. Transitions between cues felt abrupt and could benefit from smoother changes, especially during key scenes like the ballet sequence. The lighting setup’s limited kit was used serviceably, yet the lighting design might have explored more atmospheric elements, particularly with moving lights, to enhance the emotional moments. Visual - Costumes, Hair, and Makeup Costuming was bright, colourful, and in keeping with the period for the most part, adding authenticity to the setting. However, some modern details detracted from the overall effect, such as Laurey’s 1950s-style dress in an 1850s story and Gertie’s 1980s finale costume. Hair styles also needed more period-appropriate styling for both men and women. The makeup was suitably subtle and natural, fitting the rural atmosphere. Adjudicator’s Overall Comments Tullyvin Musical Society’s production of Oklahoma!  displayed strong musical direction and cohesive teamwork, particularly in vocal performance. This society has untapped potential, with an evident passion and dedication that could be further enhanced through a bolder approach to direction and choreography. With continued growth, Tullyvin Musical Society is sure to produce even more captivating performances.  Therese Maher Sullivan Adjudicator 2024/2025 Some photos shared by the society:

Frozen Jr. As Presented by Bosco Drama Group

Bosco Drama Group  Frozen Jr.  Saturday 5th October 2024  Frozen Jr. was a triumphant return to Newry Town Hall for the cast and crew of...

Bosco Drama Group  Frozen Jr.  Saturday 5th October 2024  Frozen Jr. was a triumphant return to Newry Town Hall for the cast and crew of Bosco Drama Group. Only a year previously, their production of ‘Everybody’s Talking About Jamie’ was almost cancelled when the Town Hall was flooded, destroying costumes, sets and props. In true theatrical style, the show proceeded in an alternative venue, highlighting the indomitable power of community. What a joy it was for them all to return to their home and to bring this Disney classic to life with an enormous cast of 8–18-year-old performers; every one of them living their best lives and basking in the glow of the wonderfully inclusive and supportive ethos that is promoted so clearly in the Bosco Drama Group.  Front of House was a hive of activity when we arrived and it was so lovely to see so many young children, dressed as their favourite ‘Frozen’ characters, excited for the forthcoming evening’s entertainment. We were escorted to our seats at the front of the balcony and my dodgy knee was never so grateful to have the most leg room I’ve ever had in a theatre!  Director Corinna McCaughey brought this challenging show to the stage, doing very well with her extremely large cast. She created some magical, theatrical moments, culminating in a brilliantly effective transformation sequence which revealed Elsa’s iconic dress during the fabulous ‘Let it Go.’Ms. McCaughey elicited some fine performances from her talented cast as she guided us through the story with a light touch and good attention to the narrative. At times, I felt that some performers played directly to the audience, even when delivering dialogue to one another. As a former young member of the group herself, Ms. McCaughey must have been immensely proud of everyone involved in this production.  As per the strict licensing agreement, Musical Director Aislinn McGinn was unable to use an orchestra for this production, as would be the norm for the group. Instead, she worked with the high-quality tracks provided by the licence holders. Whilst this allowed her to focus more on the vocal requirements of the show, it did restrict her somewhat, in places, and did not afford her the flexibility which having an orchestra might do. As well as the sizable onstage ensemble, Ms. McGinn conducted a large choir of young children whose angelic voices and enthusiasm added so much to the show. Principal vocals were generally of a good standard and the onstage ensemble acquitted themselves very well throughout. The stunning ‘Let it Go’ finale was the vocal highlight of the show for me.  Ann Marie Morgan has spent the last quarter of a century choreographing for Bosco Drama Group. What an incredibly impressive record that is and, I’ll wager, it is highly unlikely to be surpassed in too many other groups. She created some wonderful routines which really suited the abilities of her young cast. There was inventive and fun use of props, which really helped to drive the narrative. ‘In Summer’ was full of comedic business and I loved the fun-filled ‘Hygge’ with its lederhosen clad ensemble and the clever tankard sequence a la ‘Beauty and the Beast.’ ‘Let it Go’ was a delight and I really loved the movement of cast in ‘Colder by the Minute’. The iconic role of Elsa was played with great focus by the talented Robyn Cunningham. Ms. Cunningham brought us on an emotional journey from the fear and isolation experienced in the early stages of the show to the transformative ‘Let it Go’, in which she demonstrated her very strong voice. ‘Colder by the Minute’ was another vocal highlight. This was a huge role for Ms. Cunningham to take on and she handled it very well indeed.  Emily Morgan was full of energy as Elsa’s younger sibling, Anna. She exuded character and likability in what was a most vibrant performance. Ms. Morgan was equally comfortable with the comic elements of her character as the more heartfelt aspects. She had a full, mature voice and impressed greatly in ‘Love is an Open Door’ with Hans.  Driving Elsa and Anna’s backstories were some equally talented young ladies. Sophie McKernan, Eibhlinn McNeill, Kate O’Mahony and Daimhin Feehan played the roles of Young Anna, Young Elsa, Middle Anna and Middle Elsa respectively. Each of these brought great fun and commitment to their roles.  Patrick McAllister was an impressive, if laid back, Kristoff, full of sarcastic fun. Mr. McAllister had good stage presence and had a wonderful onstage rapport with Ms. Morgan. ‘Reindeer(s) are Better than People’ was a beautiful moment, very well sung.  Aidan McCaughey melted the audience’s heart as everyone’s favourite snowman, Olaf. This was a solid comic performance from Mr. McCaughey, who relished every moment on stage. He also deserves every credit for his management of what was a visually stunning, but nonetheless cumbersome, costume. Mr. McCaughey brought the house down with his fine rendition of the impressively staged ‘In Summer’.  Conor Sands had good fun with his portrayal of the two-faced Hans. His performance was suitably over the top, when needed. He nailed the required duplicity of the role, segueing from charming to devious, seamlessly. I really liked his ‘Love is an Open Door’ with Ms. Morgan; one of the show’s many highlights.  Holly Campbell’s costume, as reindeer Sven, looked as if it had just been swiped from the walls of the Natural History Museum. Ms. Campbell took what could easily be a forgettable character and captured our hearts with her great vocal expression and comic business.  The show boasts a large cast of cameo roles, and this provided lots of opportunity for the production team of this wonderfully inclusive company to give valuable experience to many of its young members. Danny McGinn shone as a funny Weselton. Shay Devlin also impressed as the heavily accented Oaken in the rousing ‘Hygge’. There was great work too from Eoghan Drumm and Olivia Ward as Pabbie and Bulda in their well-performed ‘Fixer Upper’. Faith Savage did well as Bishop and Micheal Sean McAteer and Sophie Morgan were suitably regal in their portrayals of King Agnarr and Queen Iduna.  There were well over a hundred and fifty young performers, between the onstage ensemble and the children’s choir. The choir sang beautifully, giving excellent support to their fellow cast on stage. I was greatly impressed by their exceptional discipline between numbers as they never once distracted from the action on stage. How wonderful it was for all of these children to get the opportunity to take centre stage, dancing their hearts out to a specially inserted Disney medley at the end of the show. The large on-stage ensemble was kept busy all through the show. From the townspeople to the hidden folk, to the castle servants, to the summer chorus, to the snow chorus, we were treated to a constant conveyor belt of talented performers who sang with gusto and were fully committed to the well-rehearsed dance routines. Stage manager Anne Marie McAleenan was also responsible for the show’s artistic design. She did a wonderful job of creating a suitably ‘Disneyesque’ world with exquisite attention to detail in all of the very solid, colourful trucks and set pieces which were seamlessly manoeuvred by a very skilled and efficient crew. The trucked ‘maypole’ was a nicely authentic touch, and the large, upstage ice trucks helped to create a dramatic setting for the wonderful ‘Let it Go’ number. My only gripe was seeing crew in blacks rotating the wonderful door truck in full light as it took us out of the story momentarily.  Props were generally well chosen and in keeping with the fun of the show. There was nice use of parasols and beachballs for ‘In Summer’ and the chocolate cake was rather impressive too. I really liked the silver branches which really added to ‘Let it Go’ and I’m pretty sure that bucketloads of silver glitter were used throughout the run for Elsa’s many moments of magic. Good work from all!  There was great work throughout from the lighting department with good use of moving lights and haze in creating some of the show’s most magical highlights. Gobos were very well utilised to help create mood and atmosphere, enhancing the visual impact of the production greatly. ‘Colder by the Minute’ was very dramatically lit as the show’s climactic blizzard took hold.  Sound was in capable hands for this show. As one would expect at a final performance, cueing of tracks was consistently sharp, with no unnecessary delays. Cueing of mics was also very solid. Track levels were set well, ensuring that vocals and underscored dialogue were generally well heard. I would have liked more overall volume in general, but I suspect that positioning of speakers in the auditorium meant that those of us seated in the balcony were not getting the full impact from the PA system.  There was a stunning array of costumes assembled for this production. There is a very definite template in place, dictated by the classic animated movie. To deviate from this too much would have crushed the expectations of a large cohort of children who packed the Town Hall in the hope of seeing their favourite characters come to life. There was no need for worry because boy did the costume team deliver! From the iconic dresses synonymous with Elsa and Anna, to Sven and Olaf’s superb looks, this was a costume plot to be very proud of. Nothing was left to chance with the ensemble either. I was particularly impressed with the attention to detail for servants, the fabulous coronation dresses, the fun lederhosen in ‘Hygge’ and the beautiful white dresses in the wonderful ‘Let it Go’.  Hair and make-up were very well managed considering there were so many people on stage. Wigs were generally well chosen, especially for our Annas and Elsas whose iconic looks were very well recreated.  This was an entertaining production of the familiar Disney classic. Familiarity with the source material contributed greatly to the audience’s engagement and it was a delight to hear so many little (and not so little) voices joining in with all of the familiar numbers. Equally delightful was hearing all about the amazing work which has been done by Bosco Drama Group over the years to promote inclusivity in the community. Every child who walks through the doors at the beginning of the summer, is guaranteed to get their chance to perform. And what an amazing experience that clearly was for them all. To everyone who helped to facilitate this wonderful ethos, take a bow. Love is indeed an open door!  Pat McElwain  Gilbert adjudicator 2024/2025

Legally Blonde as presented by Ulster Operatic Company

Date of Attendance : October 11, 2024 Society : Ulster Operatic Company Production : Legally Blonde Brief Overview of Show and Front of...

Date of Attendance : October 11, 2024 Society : Ulster Operatic Company Production : Legally Blonde Brief Overview of Show and Front of House Evaluation Ulster Operatic Company’s production of Legally Blonde  at Belfast’s Grand Opera House was a delightful theatrical experience set against the stunning backdrop of this iconic venue. The old-style décor of the theatre beautifully contrasted with the modern, stylish foyer, creating a warm and sophisticated atmosphere. The front-of-house team greeted guests with professionalism and even handled late arrivals gracefully, ensuring a welcoming start to the evening. Though there wasn’t any specific décor themed around Legally Blonde , the elegance of the venue suited the high energy of the show. The production itself was superbly crafted, with every performer contributing to a powerful ensemble dynamic. Each member was equally invested and committed, creating a performance where it was impossible to pinpoint a single standout—an impressive feat in amateur theatre. The energy and synchronisation across the cast were apparent and contributed to a polished, memorable performance. Director – Direction and Production The direction of Legally Blonde, by Tony Finnegan ,  was a testament to careful planning, creativity, and an eye for detail. The scenes were slick and meticulously blocked, with clear attention given to every movement and reaction. From minor characters to lead roles, each performer had a well-defined character arc, adding depth to the production and allowing for richer storytelling. A particularly bold choice was the lowering of the tricolour cloth, which did not go unnoticed. Two moments especially showcased the director’s flair: the guard’s humorous interaction with Brooke and the waiters’ engaging dynamics in the opening scene. These interactions were well-timed and skilfully directed, adding delightful humour and a human touch to each character’s role. Overall, the direction left no detail unattended, creating a production that was as cohesive as it was captivating. Musical Director – Direction and Orchestra The music for Legally Blonde  was vibrant and energetic, thanks to a strong big-band orchestra led by a capable Musical Director, Wilson Shields. The band’s sound was powerful and added a rich layer to the show, though occasionally it overpowered the vocalists on stage. The partial openness of the drum screen seemed to cause a slight echo effect with the drums. Nevertheless, the MD expertly guided the tempo and timing, with no missed cues or rushed beats. This control allowed the cast to perform with confidence, keeping the energy high while ensuring that the pacing of each song matched the intensity of the scene. Choreographer – Choreography The choreography by Matthew Watson in this production was nothing short of spectacular. Every cast member was in sync, each move executed with precision, and every routine exuded professionalism. Not a single beat or step was out of place, and even the smallest gestures were cohesive and polished. It was remarkable to see amateur performers execute such demanding routines with finesse and uniformity. The male cast members, in particular, brought a divine energy to their movements, adding a layer of excitement and energy that elevated the choreography even further. This accomplishment speaks volumes about the dedication of the choreographer and the commitment of the cast. Leading Principles – Singing and Acting Elle Woods – Karen Hawthorne Karen Hawthorne gave a charming performance as Elle Woods, combining polished singing with a warm stage presence. Her portrayal was slightly understated in terms of Elle’s girlish charm, but her energy and professionalism shone through, making her a believable and engaging protagonist. Emmett Forrest – Sean Harkin Sean Harkin brought a gentle strength to Emmett, his voice carrying a beautiful tone that matched his character’s humble nature. His portrayal of Emmett’s quiet brilliance was endearing, and his chemistry with Elle felt authentic and well-paced. Paulette Buonafonte – Jordan Arnold Jordan Arnold’s portrayal of Paulette brought both warmth and humour, and her lively personality ultimately won over the audience. Although she appeared less confident with some of the choreography, she made up for it with her expressive acting. Additional interaction between Paulette and Kyle could have enhanced the comedic impact of her character, although I believe this is a fault of the script and not of the production. Warner Huntington III – Joshua Martin Joshua Martin played Warner with a charming arrogance that perfectly captured the character’s sense of entitlement. He leaned into his character’s self-centred nature, alternating between heartthrob and heartbreaker. His voice was consistently strong, adding a level of sophistication to Warner’s flawed persona. Professor Callaghan – James McGinn James McGinn’s subtle take on Professor Callaghan gave an unexpected twist to the character’s unsavoury intentions. His decision to underplay Callaghan’s creepiness made the kiss scene even more shocking, creating a jarring effect. Though his presence could have been more commanding, McGinn’s performance was solid and cohesive. Vivienne Kensington – Caitlin Johnston Caitlin Johnston’s Vivienne was wonderfully sharp and sarcastic, portraying her initial haughtiness with precision. Her voice was strong, and she held her own in scenes with the chorus. Her gradual character development was well executed, allowing her softer side to come through naturally as the show progressed. Supporting Roles – Singing and Acting Brooke Wyndham – Jordan Rosborough Jordan Rosborough’s Brooke was full of energy, managing the impressive feat of singing on beat and in tune while performing with a jump rope. She balanced Brooke’s strength and vulnerability, delivering humour and resilience in equal measure. Kyle B. O’Boyle – Adam Johnston Adam Johnston fully embraced the role of Kyle, exuding confidence and comedic timing. He stayed in character even through audience raucous laughter, maintaining his swagger and cheeky persona, which made him an audience favourite. Margot – Erin Tumlinson Erin Tumlinson gave a solid performance as Margot, singing and dancing with grace and precision. She fit seamlessly into the cheerleader quartet, adding to the group’s harmonious dynamic. Pilar – Ellen Magee Ellen Magee was equally delightful as Pilar, bringing enthusiasm and energy to the role. Her bubbly personality and synchrony with the group made her character endearing. Serena – Leah Henderson Leah Henderson stood out among the quartet with her lively portrayal of Serena. Her vocals and dancing were confident and animated, embodying the spirit of a cheerleader and adding depth to the ensemble. Kate – Caroline McMichael Caroline McMichael showed maturity beyond her years as Kate, blending well with the older cast and adding a grounded presence to the ensemble. Chorus/Ensemble – Singing, Acting, and Choreography The chorus and ensemble brought an unparalleled level of professionalism to the production. The synchronisation in dance numbers was flawless, with each member committed to the choreography and singing. Harmonies were consistently strong, and it was clear that every individual was invested in their role, adding to the collective energy on stage. The discipline and cohesion within the ensemble were evident, elevating the production and allowing each scene to flow seamlessly from one to the next. Stage Management & Set Design Despite limited technical rehearsal time, the Ulster Operatic Company’s stage team expertly managed the professional set, which allowed for smooth scene transitions and added a polished visual element to the production. With the advantage of a fly tower, the crew was able to manage set changes with precision, enhancing the show’s pacing and keeping the audience engaged. Each set piece was well-placed, and the backstage crew executed their roles efficiently, making for a seamless visual experience. Technical – Light and Sound The lighting design was effective overall, though there were a few slightly delayed cues. Focus and colour were well-balanced, complementing the onstage action and keeping transitions smooth. Clever use of lighting also helped draw focus and conceal scene changes, adding to the fluidity of the performance. Sound was mostly well-mixed, though some supporting characters could have benefited from increased volume, particularly during ensemble scenes. Given the orchestra’s size, the sound balance could have been adjusted to ensure that all vocal parts were clearly heard. However, these minor issues did not detract significantly from the show, and the technical team demonstrated solid skill overall. Visual – Costumes, Hair, and Makeup The costume, hair, and makeup design contributed to a visually cohesive production. Costumes were fitting for each character, helping the audience easily identify the roles and personalities. They were pristine throughout. Hair and makeup were similarly well-executed, with styles that suited each character’s personality. Elle’s curls occasionally got in her face, but this was a minor detail that did not detract from the overall polish of the production. Adjudicator’s Suggestions and Comments Ulster Operatic Company’s Legally Blonde  was a standout production, showcasing a cast and crew dedicated to delivering a memorable, professional performance. Every element—from direction to choreography, from technical execution to visual design—blended seamlessly, creating a cohesive and enjoyable show. Finding areas for improvement in such a strong production is challenging. A minor adjustment to sound balance might help to better project the supporting roles in future performances, but this is a minor suggestion. Suggestions for future improvement are challenging to identify, as this production was already exemplary. Perhaps minor adjustments in sound mixing could improve clarity for supporting characters. Ultimately, the performance would have been equally compelling with minimal staging or props, as the ensemble’s energy and synergy were the true highlights. The Ulster Operatic Company delivered a slick, clean, tidy show that was thoroughly enjoyable from start to finish. Therese Maher - Sullivan Adjudicator 24/25 Some photos of the production by Melissa Gordon

NORTHERN SOCIETIES

Below is our comprehensive list of NORTHERN societies.

If you would like the contact details for a society, please contact either the Registrar or the National PRO. If you would like information distributed to our members for a small cost, please Contact our National Secretary.

bottom of page